Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.

I don't design my own clothes. It's so not what I think about.

The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.

For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span.

I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.

I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.

I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.

One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.

My own style is pretty classic; I much prefer to design for others.

I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.

I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design.

The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me.

I think that sometimes people don't understand that a costume that has to be worn every day and doesn't change the whole movie becomes iconic. It's very important because it requires a different design process, since you have to make something that people aren't going to get tired of looking at.

Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.